Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Malta and from Stockholm.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1964 to 1974.
I'm losing my edge.
To all the kids in Paris and Edmonton.
I'm losing my edge to the art-school Johannesburg kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1983 at the first Art of Noise practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Lou Reed started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Ultimate Spinach to the rap kids.
I played it at the 40 Watt.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Swell Maps. All the underground hits.
All Thee Headcoats tracks. I heard you have a vinyl of every Bronski Beat record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Simply Red record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
L. Decosne,
Adolescents,
Aloha Tigers,
Wire,
Don Cherry,
Man Eating Sloth,
Yellowson,
Kaleidoscope,
Hoover,
48th St. Collective,
Tim Buckley,
Funkadelic,
Skaos,
Harry Pussy,
Girls At Our Best!,
FM Einheit,
Lindisfarne,
This Heat,
Marmalade,
Gerry Rafferty,
The Gories,
Ralphi Rosario,
Infiniti,
The Pop Group,
Crime,
Pantaleimon,
X-Ray Spex,
Röyhkä ja Rättö ja Lehtisalo,
The Vogues,
Lou Reed,
Beasts of Bourbon,
Orchestral Manoeuvres in the Dark,
Arab on Radar,
The Zeros,
Lou Christie,
Kerri Chandler,
Pussy Galore,
Black Flag,
Young Marble Giants,
the Soft Cell,
Von Mondo,
Sarah Menescal,
The Cure,
Sly & The Family Stone,
Rhythim Is Rhythim,
Stockholm Monsters,
Ice-T,
Mad Mike,
Fela Kuti,
Judy Mowatt,
Marc Romboy vs. Booka Shade,
Jawbox,
Outsiders,
Crash Course in Science,
Essential Logic,
Tommy Roe,
Justin Hinds & The Dominoes,
John Coltrane,
The Associates,
8 Eyed Spy,
The United States of America,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.